Not sure what that means. I cannot tell if it's either genuinely flawed, in some of the modern Star Trek / Doctor Who senses (eg: throwing the audience rapid-fire SURPRISE REVEALS!! , unnecessary PLOT TWISTS!! and whiz-bang effects that, in the end, makes no logical sense). Or whether its just SW neckbeards that need to get a life.

soundwave106 wrote:Not sure what that means. I cannot tell if it's either genuinely flawed, in some of the modern Star Trek / Doctor Who senses (eg: throwing the audience rapid-fire SURPRISE REVEALS!! , unnecessary PLOT TWISTS!! and whiz-bang effects that, in the end, makes no logical sense). Or whether its just SW neckbeards that need to get a life.

It means it was crap. You will likely never find a bigger SW fan than me. At least, a bigger fan of the original trilogy. I have all the dialog committed to memory. All of it. I had the VHS tapes when I was a kid (God I wish I still had them, they are worth a fortune today - they were the originals) and I wore them slap out.

Having said that, I thought Ep VIII was crap. It was not good. Also, I do not have a neck beard.

Plink Floyd wrote:And a buttload of Hollywood money for a top flight orchestra/techs/assistants/giant studio ect.

Quibble on your aside: I am hearing some loudness-war era type distortion on some of these tracks (at the very least, some distracting (to me) compression artifacts or something).

It might be the Youtubes (notoriously a bad platform for audio HQ) doing this. But as a general aside, The Loudness War has always been funny to me in that way. You have top flight gear, techs, assistants, giant studio, and then proceed to run it through the BIG MASTER SQUASH and turn the music dynamics to shit.

(Which is apparently what many people want, except for the vocal minority that notices, I guess. )

The synth plus orchestra integration is a little too "Zimmeresque" for me. Style wise for my film score, I prefer the Romantic orchestral film score revival John Williams essentially set off with Jaws, Star Wars, Close Encounters, Superman, etc. (Old "Golden Age" scores from the 1930s-1960s are pretty cool too.) So in terms of synth + orchestra, say, what Basil Poledouris did for Robocop is more to my liking. I realize this is me telling everyone to get off my lawn (eg, it's a "taste thing").

But I overall approve of the synth. "Synthwave", which imitates all of those 1980s synth-only soundtracks, is a Thing Now and apparently has snuck into recent material (Drive, Stranger Things). Why not have one of *the* original folks of 1980s Synth make Synthwave? For me, they could've gotten rid of the orchestra and it probably would've been better.

Yeah, I take no responsibility for utoob dynamics. Honestly, I didn't notice that it was that bad here on my PC speakers. If I were to obtain that album, I'd obviously get better files.

I certainly didn't notice any squashing in the theater. And I employed (as I always do if possible) the Sheldon Cooper Method of selecting the Optimal Seat of Sweet Spotness. Actually I already know where it is in my local place: dead center, right behind the wheelchair spaces. To occupy said spot, I usually wait several weeks after a film debuts. I think there were about six people in the place when I saw Ragnarok last weekend.